Collection Update 4.3

Yeah this is becoming a problem… I’m clearly addicted to vinyl now. It was also just my birthday so sue me. Greg, my partner in dipsomania, came along. Dropped a hundy on Metallica’s Kill ‘Em All (Elektra 1988 Pressing), Daft Punk’s Discovery, Deafheaven’s Road of Judah, and Code Orange’s Forever. My collection has grown to 42 twelve inch records. I went from saying never to just being another consumer vinyl junky. Can’t complain. These new ones will fit alongside my anthology.

Check out my updated collection here.

Top 10 Albums of 2016, Part 2

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I was born in 1991. Look back and it’s arguably one of the greatest years in rock music. Nevermind, Loveless by My Bloody Valentine, Ten by Pearl Jam, and of course Metallica‘s Black Album. I’ve talked about my affection for that record. It was also their last great album.  Load through Death Magnetic were not good, by their standard. Maybe there was nothing left creatively. Their first five records were unbelievable. If that was all they had it would still be a hall of fame career. This year they surprised the world.”Hardwired” nuked everyone like it was 1983. Hardwired… to Self-Destruct surprised me the most of any album I heard this year. Listening through the first time I kept uttering “what the fuck” during every song. How after 25 years could this band drop an album that sounded like Kill’em All and Ride The Lightning?

Remember for the majority of my life Metallica has released disappointing music. What changed? Without exploring too many conspiracy theories, Hardwired shows James Hetfield is still on that riff life. “Atlas, Rise!” and “Moth into The Flame” sound as epic as any Ride The Lightning track. “Confusion” and “Here Comes Revenge” remind me of better moments from Death Magnetic revisited with the heavier edge and free reigning solos from The Black Album. “Am I Savage?” gets uncharacteristically chuggy at the end. Most of it sounds dark and brooding and closes out with metalcore-esk chuggs with evil sounding harmonics in-between. “Spit Out the Bone” should satisfy the … And Justice for All people with seven minutes of shredding. I would have never imagine an album this solid. It’s reinvigorating hearing songs just as good as the first demos.

“It only took like 20 years for people to start kinda digging our music” said Tomas Haake in a Metal Evolution interview. Meshuggah has been around since 1987. Thanks to the emerging djent scene about 7-8 years ago their work got the respect it deserved. They ushered in a whole new genre, scene, and wave of musicians with a unique style of music. The Violent Sleep of Reason cashes in reverence and dives deeper into the Marinas Trench of their music. It’s incredibly heavier in tone and weight than Koloss. The grooves steamroll relentlessly. The groove riff half way through “Clockworks” mesmerizes for an eternity. It’s honestly one of the best Shuggah songs ever. That groove could go on forever. “Born in Dissonance” plum-mutes through brick walls. Like the song before it never stops the furiosity or relaxes. “Nostrum” has those signature floating Ornette Coleman notes hoovering the intro. You still get those percussive grooves and beats through out but that jazzy element returns for the solo. You can hear these signature elements all over the record. Infinite groove, earth smashing weight, and dark jazz tones. This is another classic album.

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I forgot about Touche Amore for a couple of years. There’s probably several good reasons why I didn’t pay attention for a while. I was in a metal band and immersed in that music. I was in love and blissfully happy. When relationships and family members passed away Stage Four came along at an opportune time. While I lost a lot last year and this year this record reminds me a lot of my grandfather. His influence on my life can’t be measure. What he meant is more than I can ever describe. As I got older, living on the opposite side of the world, and having my own life we lost the connection we had. We spoke sporadically. I guess I just thought he’d always be there, but when he passed it broke me. A year later hearing “New Halloween” broke me too. Just the opening words “how has it already been a year” crush me. I feel Jeremy Bolm’s loss, he can feel mine, we all can feel whatever we’ve lost. I could put that song perspective with Karlsberg or my ex but I think about my grandfather. I wasn’t there at the end. I can only hope he was proud of me. I will never know how he felt about me at the end or who I become.

“New Halloween” is the standout track here but there’s plenty of depth to Stage Four. “Displacement” rips. It harps back to their Thursday influences. That word everyone hates, emo, comes through. I hadn’t heard the music open up like that in a while. “Palm Dreams” feels like California. They reference interstate 5 and driving fast. I’m not sure what it’s about but there’s something that seems familiar being on your own going 65 MPH plus here in the golden state. “Posing Holy” stands out too. Bolm talks about it’s a right of passage to lose people. I wasn’t prepare as he mentioned. When if I was I would have never been able to handle it properly. I grieved a long time. Maybe I still am but it’s something I had to go through eventually. Maybe you’re never ready but now I’m stronger. Perhaps fortified to get through loss.

I was pretty sure Deathgrip would be my top album of the year and it was pretty close. Since Slave to Nothing I’ve waited impatiently Fit for a King to continue producing what is now their prime. Metalcore, metal in general, doesn’t connect with me as much as it used to. Nothings at fault other than I’ve changed. These guys are one of the few that still connect with me and Deathgrip came at the right time. I talked extensively about “Pissed Off” when it dropped and I reviewed the whole record in depth too. My reviews speak pretty strongly about my affection for the music and what’s meant. It’s been yin to the yang of my top album. It’s the dark hopeless version of the positive side of how music has chronicled my year. There’s an apocalyptic element here that describes my disparaging moments in 2016. Self harm, hatred, depression, abuse, whatever grip death had on me it’s all here. I’m not sure any of you reading this will get how hard the last 18-24 months have been. I was going somewhere you don’t come back. Deathgrip really crystallized those moments in a way that reminds me of where I was and where I don’t want to be anymore.

 

Influential Records

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I’ve always thought about hierarchy when it comes to my taste in bands, artists, and music. I like listing out in my head who are my favorites and what order they’re in. When a new band comes along it’s always fun to see where they rank with old favorites and where they are years later. Before starting this I thought about listing my top favorite records or bands but that seemed like a really long prospect. Instead, since I promised myself I’d have something out sooner, I borrowed a concept of weaving my thoughts to static. So many bands and musicians have impacted me but without hesitation four individuals were above the rest. One moment in time, a seminal record, influenced me forever. They may change someday but these have stood for years, some for decades.

Still young in time, I cannot deny the impact Roomrunner had on me when I got their first tape. It changed how I wanted to write and play music. It changed how I dressed in a small way. I had to go see them some years ago the only time they came out to the west coast. RMRNNR bled with noise and turned up the sonic dial whenever they damn well pleased. The beautiful thing about them was their simplicity. Under all their effects the music was simple yet elegant. They understood how to exploit the desired sound from their instruments with what I call easy playing. Usually critics call this functional playing. They weren’t functional however. Simpler chords were used to accomplish what their style asked for. They were all proficient players but much like Tool it was about sculpting the piece.

While I know they hate the comparisons to Nirvana its undeniable they sound like what made Seattle’s best unique. RMRNNR evolved that sound to the level I had always wanted to hear next. I like In Utero as much as most but it was a response to the fame and expectations acquired from Nevermnind. I always wondered what they would have sounded like if Teen Spirit never made them famous or if they stayed at the same level from Bleach. I think they would have sounded like RMRNNR or gone towards that path. That’s a high complement I couldn’t pay to anyone else. They were what everyone was waiting for.

My personal evolution in indie rock started with Radiohead. They’re kinda like the gateway into the genre like pot is to recreational drugs. In high school I found Mew on those random music channels you get with your cable provider. My uncle who introduced me to RH was also a fan. The Danish band came along at a perfect time. They had progressive elements that my metal tastes like but at the same time I felt a connection with Denmark again. Their lyrics had an element of mystery but they were obviously emotional in nature. My adolescent self sucked that up like crack. I still do when it feels right.

Frengers will always be their best work. “Am I Wry? No” leads off with a memorable melody into a captivating riff. It sets the air for the album that’s present through out. “Comforting Sounds” builds up for four minutes, keeps your attention, and breaks out into bombastic and enchanting sections. I listened to that record through and through for years. Finally seeing them last year was rewarding. My ex asked if I wanted to go closer to the stage at The Observatory but I only wanted to see them from afar. I love participating in shows but this time it was prudent to just behold them.

There are bands that change the way you cut your hair, influence the cloths your wear, tattoo their art on your body. Thursday are my favorite band and that will never change. They broke at a time when the internet ingrain itself into our everyday lives. Full Collapse spread by word of mouth like many great underground albums do. The internet pushed it through a warp gate. They went from indie band to crashing the party on the pop charts with “Understanding in a Car Crash” playing three times a day on MTV. Their music sounded how I felt during those times. It still resonates now.

Geoff Rickly became like Jesus to me, and many others. He had all the questions I had and sometimes their answers. His honest liberated me. It spoke about grieving friends and family, love lost, or even dark specters in suicide or rape. If Kurt Cobain made it ok to have feelings, Geoff freed them. There wasn’t anything that couldn’t be discussed. I only got to see them once but it was a religious experience. My close friend Greg still gives me crap about the funny photo I took with Geoff or how primordial I got during the show. I still have no tattoos and probably won’t get many. When I decide to have one it will be their dove.

Remembering my earliest memory of music I go back to my biological father in Denmark. I recall Bob Marley, Tupac, and Nirvana but none of them as early or significant as Metallica. “Enter Sandman” is not only my first recollection of music but it’s also the best song I’ve ever heard. That’s my opinion. I’ve wanted to write it down as a statement for years. That song and The Black Album are what The Beatles represent to most. It’s a musical starting point. There’s a reason why I gravitate to heavier sounding music, judge songs by riffs, and seek certain structures in music. Metallica is the reason.

Before 1991, they had just come off touring …And Justice for All around the world. This concert from Seattle encapsulates the band at their peak of writing ridiculously fast and chaotic metal. There was nothing like them. Just look at the fracasing crowd. Metallica took their style at the time to highest level of success possible. What they did with The Black Album however drew all the metalheads and everyone else in world. People who were completely clueless about metal praised this record. The most common criticism here lies in the pace of its songs. No longer were they speed and sweeps. Lar Ulrich when asked about if they sold out as band (Metal Evolution Thrash Episode) replied making another fast album would have been selling out. They went in another direction rather than just doing what Slayer does. I have no complaints about doing the same kind of record over and over again. It’s worked out well for them but there’s a reason one band is far more regarded and popular than the other. Without this change I may have never gone the metal direction. I’m sure so many others could say the same.

Just imagine what you would be like if heard something different during impressionable times. If Garth Brooks had influenced me early on I clearly would be different. Think how disparate everything about me would be. Music influences how we think which effects our behavior. It changes how we look, feel, express our lives. Looking at what shaped us explains not only the past but the present and future too.